Proof vs. Evidence: The Burden of Photographic Intangibility

                In light of the latter paragraph I feel that from the outset I should warn you that there will be a time when you have a conversation with someone who may ask you why it is that you choose to be a parapsychologist and what proof you have to back up what you say or believe. When this question arises it would be best to assure them that we work with various scientific readings, data, photographs, EVP, and so on. We must help them appreciate the fact that, as scientists, we are not on some bizarre mystic chase seeking immortality, we are not seeking guidance or advice from the spirits of the dead, we are not ghost trappers or hunters as seen in the movies, and that we do not fit any of the other strangely misguided stereotypes that the misinformed popular media has spewed forth over the years. As scientists, we seek an accurate understanding of why certain events take place out of the realm of normal, logical, explanation and why conventional science has not been able to explain those events. Remember, there has been a great deal of controversy raised in the past by various skeptics and other parties who are either doubtful of what parapsychologists do or who wish to prove that all parapsychologists are charlatans. Even after all of the years of research, theory, and scientific inquiry we have yet to obtain solid proof of the existence of ghosts, spirits, and so on.  

                To properly understand the basis of the argument of proof vs. evidence we must first understand the root of where this argument comes from. Most often, the basis for this debate on both sides comes from personal opinion rather than from actual scientific results. When we have evidence from an investigation that is backed up by scientific results we then have a basis to formulate a theory upon. We should know that proof is, by definition, definitive evidence which has been compiled to such a degree that it would then prove to be sufficient so as to remove the doubt of truth from a certain matter. However, by definition, evidence is understood to be grounds for a belief or set of beliefs that is supported by certain circumstances or other matters that would pertain to the relevance of the proposed theory or facts at hand.

                Because of the strictures of the definitions of the words, as well as my personal position on scientific credibility, I will probably never say that I have proof of something paranormal, only strong evidence of the possibility of its existence. Surely, the last statement raises questions in many minds. If I, as the author of this work, don’t believe 100% in the existence of paranormal events how is it that I can pursue the subject with such dedication if I don‘t hold a complete belief in it? Actually, the answer is quite simple: By having an open mind to all scientific possibilities that is tempered with a certain degree of skepticism. Blind acceptance or guesswork in this field is not an option. We must research, study, learn, and understand what it is that we are doing before we can attempt do it with any degree of proficiency.

                As I have previously stated, there has not yet been any significant degree of evidence produced in the field of parapsychology to constitute a true burden proof. However, in our defense, I should say that paranormal researchers have numerous scientific readings and other data that is being reviewed by various credible parapsychology organizations all over the world. These readings are being compiled in conjunction with photographs and other such evidence. With all of this evidence being found, especially when it is on a worldwide scale, it certainly does make a much stronger case for the existence of paranormal phenomenon. All of this evidence certainly does make paranormal phenomenon hard to ignore or deny, much less to turn a blind eye to and chalk it up to coincidence.        

Choosing Your Weapon: The Camera

                The camera, in the various forms that it has taken over its history, has long been hailed as the best friend of the paranormal investigator because it gives the investigator what many feel is the best and most invaluable evidence that can be provided within the realm of paranormal research- pictorial evidence. Although pictures can be worth a thousand words there have been some unscrupulous persons over the years that have learned to manipulate photographs so it may look like there is some sort of anomaly in the photo when in reality it is only clever trickery. The advancement and mass availability of computer aided photo manipulation software has not helped this trend get any better either. This is not to say that technological advancement is bad, only the ethics of certain persons. Aside from that, the real debate found here comes down to three things: camera brand, film speed, and film type.  

                To begin with, let’s examine the camera. The question here is should you spend $9.99 on a disposable camera or $1000 + on a professional camera set up? The answer: Whichever fits your budget. Results of paranormal activity have been captured on all types of cameras and brands of cameras. To break this thought down a bit I should tell you that the disposable cameras found in most retail outlets work well, but if you are looking for a camera that you can work with over time and get a feel for, the mid-range consumer grade 35mm or digital cameras (usually from about $150 - $350 U.S.) are ideal for this type of activity. High end professional 35mm or digital cameras are not necessary, but if you own this type of equipment or if it is made available to you it may be advantageous to utilize that opportunity.

                Since we are on the subject of cameras and what fits into your budget this would be an opportune time to interject another question I have been asked many times over the years: which brand of camera do I prefer?  Honestly, I don’t prefer any one specific brand of camera nor do I have any specific brand loyalty – I use the equipment that I feel is best suited to the purpose of what I am doing as well as what is in my budget range. The only recommendation that I can give here as far as the brand of camera you may wish to purchase is this: consider purchasing a camera that has a solid reputation for longevity and quality. Also, it is a good idea to do some research on the potential camera or equipment you wish to purchase to be sure that you choose the best camera that will suit your needs and fit into your budget.   

                This now brings to another debate which has been argued with a degree of intensity over the last few years. Which type of camera is better: digital or conventional film type cameras? Personally, I use both. It is my thought that they offer different ranges of sensitivity and different types of media that I can work with. Each of the cameras will get different results in various scenarios which are dictated by the portion of the light spectrum that is available for to pick up at the time the photo is taken. At this point I should say that I feel that that comparison of the two types of camera media is an irrelevant debate because comparing a digital camera to a conventional film type camera is kind of like comparing apples to oranges. They are two different pieces of equipment, and although they are similar in some respects they work in two different ways, they work with two different types of media, and each one works with different areas of the electromagnetic spectrum – each has its own use, price range, etc. so the preference from one type to the other would then become a matter of personal opinion rather than a true difference between the two types of cameras.

                You should be aware that at some point there will be someone who will ask you to evaluate photos that they have taken at various places or events to see what your opinion is on a certain anomaly that they believe is in the photo. Honesty and integrity are of the utmost importance and, unfortunately, choosing this path may create a few indignant attitudes along the way. I mention this point because when you evaluate photos for others there may be some people who so desperately want to see something in the photo (which may or may not be there) and if you do not tell them what they want to hear they may become upset with you. Simply put there are some persons who can not (or will not) understand the point that every film glitch, dust particle, mechanical malfunction, and photographic error in a picture is not a ghost or spirit of a dead loved one or an indication of some other paranormal presence. Since your trained eye will hold understanding, knowledge, and hopefully, a bit of skepticism, as well as an objective view to the photos, you may not be telling them what they want to hear and consequently, as it was stated earlier, this may upset some people. A genteel but honest reminder to them as to why you do not believe the anomaly is genuine may be necessary.

Photography 101

                This portion of the book is dedicated to giving the uninitiated (or the photographically challenged) a basic crash course on how to use conventional film style cameras as well as some digital media cameras. When performing a paranormal investigation the camera becomes an extension of you. The best way to get to know your camera is to read the manufacturers instructions and then go out and get some practice time and practical experience with it. However, if you do not have the time, or if you are like me and do not have the patience to read the manual the information offered herein may be of some assistance to you.  

Shutter Speed

                The term shutter speed refers to a specific measure of time which in this instance is how long the shutter on the camera remains open when the picture is taken. On manual cameras the shutter speed is usually set by means of a dial on the top of the camera. Automatic cameras such as some digitals and SLRs usually denote the shutter speed mode with the symbol TV (or something similar) which simply stands for "time value." The most common shutter speeds are 1/1000s, 1/500s, 1/250s, 1/125s, 1/60s, 1/30s, 1/15s, 1/7.5s and 1s. The shutter speeds, which were mentioned previously, are calibrated to be approximately twice as fast as the previous setting and twice as slow as the next setting. To break this concept down we can say that the 1/250s shutter speed is twice as fast as the previous setting of 1/125s but is twice as slow as the next higher setting of 1/500s.

                On most new camera models there is usually an extra shutter speed setting for long-exposure flash photos. In this mode the shutter remains open for as long as the shutter release button is held down. Generally this setting is used for an exposure of several minutes, such as night-time photographs. In this instance it is useful to have a tripod or other similar device as the camera must maintain its position so that it is absolutely still until the shutter closes. When the camera is in a long-exposure mode and does not have the benefit of total stability and the camera moves while the shutter is open it will cause an overall blur throughout the photo. If any movement does happen to occur while the shutter is open a condition known as “camera shake” will occur in the exposed photo. Unfortunately there is no photo software or program that can correct this condition so the photo will be rendered useless. As a note, most modern digital and SLR cameras have shutters known as focal-plane shutters which allow the shutter and flash to synchronize so that the fastest permitted shutter speed can be utilized when using the cameras flash mode.

Aperture

                The technical definition of an aperture value, more commonly known as the f-stop, is the ratio of the focal length of the lens to the diameter of the lens opening. Simply put, the f-stop value is the number of times the diameter of the opening through which the photographed image has to pass will fit into the focal length of the lens. The size of the aperture, in the case of most manual cameras can be controlled by turning a ring which is generally located at the base of the lens. On automatic digitals and SLRs the aperture priority mode is often denoted by AV which simply means "aperture value". Typical values may be f2, f2.8, f5.6, f8, f11, f16, and f22. Fortunately, for performing paranormal investigations, we don't have to think of the aperture value in terms of its technical definition. All we need to know is that smaller f-stop numbers such as f2, f2.8 etc. represent wider apertures where more light can pass through the lens in a given time and the higher f-stop numbers such as f11, f16, f22 etc. give narrower apertures, meaning that less light passes through the lens in a given time.

                A bit of  information that should be remembered is that the f-stops on a camera are calibrated to allow half as much light through as the previous setting and twice as much light through as the next setting.  For example, a lens set at f11 will allow twice as much light through as one set at f16 but only half as much as one set as f8. Thusly we can see that it is by no coincidence that shutter speeds are also calibrated to be twice as fast or slow as the next or previous setting which allows us to see how changing the aperture affects the shutter speed required. 

Focal Length

            One of the most significant properties of a camera lens is its effective focal length. When speaking of the focal length of a camera lens we are referring to the distance that the lens should be held from a subject in order to create a focused image of that item or area. The primary importance when discussing focal length for applications in paranormal investigations is actually the angle of view that can be obtained. What this means is that the longer the focal length of a lens, the narrower the angle of view and the more magnified the image is. Short focal length lenses are known as wide-angle lenses which have typical focal lengths of 20mm, 24mm and 35mm. Standard focal length lenses are around the 50mm mark, however when the lenses enter the range of 80mm to 300mm they are then considered to be within the telephoto lenses grouping. Anything lens that is above 300mm is regarded as a super-telephoto lens.

Flash

                There are many myths about utilizing the flash on a camera, but we will not waste time covering these myths here. What you will find here are the facts about using camera mounted flash units as well as some information on using external flash units. One of the first, and most critical items that I must refer to, which is critical to successfully using a camera mounted flash unit, is that you must know the effective distance of your cameras flash. Although the manufactures specifications will be the most accurate information you can get on your camera it is a commonly known fact that most camera mounted flash units only have an effective distance of nine (9) to twelve (12) feet. If you are taking photos in a dark or low-light area anything beyond the effective distance of your cameras flash unit will be subjected to “washout” (see Section 2: False Photographic Anomalies.) External flash units, also known as flash guns, can be purchased for your camera, and although these will greatly increase the effective flash distance of your camera they are still subjected to the limitations of a specific effective distance. When working with digital cameras IR (Infrared Illuminators) are a great asset to have on hand. For digital cameras an IR Illuminator can increase the effective flash distance from the nine (9) to twelve (12) foot range to almost one hundred (100) feet depending on the unit.    

                No matter what kind of camera or flash you are using it is necessary to understand the following simple technical details about using a camera flash:

Flash-Sync Speed: As it has been briefly discussed we know that most digital SLR cameras have a maximum shutter speed for use with the flash that is called the flash-sync speed. Commonly this will be about 1/125s. As you recall from the portion of the discussion on shutter speed you know that most modern digital and SLR cameras have shutters known as focal-plane shutters which allow the shutter and flash to synchronize so that the fastest permitted shutter speed can be utilized when using the cameras flash mode.

Exposure Control: The amount of light reaching the film from the sun, camera mounted flash, flashgun, or other light source is controlled purely by aperture and distance from the subject being photographed. Shutter speed plays no role in determining flash exposure but can be important in balancing flash exposure with ambient light. It should be remembered that with a manual flashgun you will need to calculate the aperture from the guide number however, with an automatic flashgun there will be a sensor on the flash which measures how much light is reflected from the subject and tells the flash when to cut off. Camera mounted flashes, also known as dedicated flashes, use through the lens (TTL) flash metering in which the flash sensor is inside the camera. With this function the camera controls the flash duration directly and there is no need for flash metering calculations.

Guide Number: The guide number (GN) of a flashgun is a measure of its ability to produce an effective flash at a fixed distance. When using a manual flashgun, the mathematical formula to calculate aperture exposure required for a subject is distance (D) divided by the effective distance of the flash gun, or, GN/d. For example, a flashgun with a guide number of 32m and a subject at a 4m distance requires an aperture of f8 (32 divided by 4 = 8).

In the next article: film, film speed, photographic environment & lighting.